“You shall go to the ball…” – Cinderella

Cinderella,
Directed by Beeban Kidron,
Starring Marcella Plunkett, Jane Birkin, Kathleen Turner, Gideon Turner, David Warner, Katrin Cartlidge, Lucy Punch, Leslie Phillips
Simply Media

The Cinderella story is pretty much an archetype – variations on the theme of the innocent, warm-hearted young lass who finds herself in awful conditions through no fault of her own, before finally finding good fortune and true love go back many centuries, with that scribbler of old fairy tales Charles Perrault in the late 1690s and the Grimms in the early 1800s crystalising the story into the form we’re familiar with today. This version is a television film from 2000, which aired on Channel 4, and boasts some solid British thesps like David Warner, Leslie Phillips and the late (and much-missed) Katrin Cartlidge, joined by Kathleen Turner (Romancing the Stone, Body Heat).

With such a well-known story there is always a question of why do another version? In this case it’s easily answered – because the film-makers have reworked it to be more relevant to the modern day, and in a manner that the younger viewers can enjoy, but which works well for the teen/YA and the adult audience. It is set in a sort of fantasy kingdom of strangely coloured skies, which has the traditional horse drawn carriages, palaces and country mansions, but also open topped cars and steam trains, royal orchestras but also a guitar playing, singing Prince. The Prince and his friends come across as a playful pastiche of the modern, hipper young Royals, the wicked stepmother (Turner) and her nasty daughters aren’t just nasty and spiteful to poor Cinders, they are also a nice comment on modern, super-shallow celeb culture, creatures who are empty inside but made-up exquisitely for outward appearance, the sort who appear in the pages of Hello and its ilk.

David Warner’s father returns from a business trip with a “surprise” – a new wife and step-daughters, to the shock of his daughter. Her shock is furthered by the way her new stepmother so obviously manipulates her widowed father and allows his new stepdaughters to bully her. This swiftly escalates from subtle manipulation to the far more obvious kind of control – Turner’s wicked stepmother is soon quite clear she is in this for money and the noble connections. Warner’s father has the noble title but not much money, so he is soon banished to sleep in the attic – “You know the rule: cash equals company.” despite this he still refuses to see what is going on (no fool like an old fool), and his daughter becomes increasingly isolated in what was once her own loving home.

A woman lives on her own and the whole world imagines she must be a witch…”

Cinderella retreats to the grave of her beloved mother on the hills, encountering a bird of prey who, in the best animal tradition in fairy tales, acts as a form of guide, leading her to a cave by the lake, a magical cave where the waterfall parts for her. Instead of a fairy godmother, here we have Mab (Jane Birkin), an odd being who is half-amused, half-offended when Cinders asks if she is a witch. She may not be a witch, but she does seem to have some magical abilities, and she helps Cinderella in her own peculiar way.

I somehow missed this when it was first aired, and I’m very glad I got a chance to see it now. While some of the effects are very early 2000s (not bad, just not as polished as you would expect today), that in fact adds to the charm here, giving the kingdom an other-worldly look that suits it quite well. And besides, it’s the story and characters which really matter here, and oh boy does Kathleen Turner clearly enjoy playing the wicked stepmother, in fact she seems to relish it, and she is delectably wicked here and, pardon the pun, having a ball with the role (as are Lucy Punch and Katrin Cartlidge as her nasty daughters).

This is an unusual, modern take on an old tale, played well, with some nice riffs on both popular culture and society (Turner inspecting her wicked daughters’ vast shoe collection and advising them “Remember the harder they are to walk in, the more effective”), while also tipping a knowing hat to the old folkloric tropes (“I hate happy endings”). This is a clever version of the Cinderella tale, with all the main beats given a nice, more contemporary twist (and yet still classic tropes), and it knows enough to have fun with it along the way, and take the viewer along too, with a big smile.

Cinderella is available now from Simply Media

Film: psychological horror in The Resident

The Resident,

Directed by John Ainslie

Starring Tianna Nori, Mark Matechuk, Krista Madison

You could be forgiven for thinking the story concept for The Resident (also known as The Sublet in the US) sounds not unfamiliar – a mother and young child mostly alone in a new apartment with odd noises and things happening, it does stir memories of Dark Water and other such offerings. But Canadian film-makers Black Fawn are getting themselves a bit of a rep in horror circles (they also did The Bite which Garth reviewed on here last year), and there was something about this that sparked my Spidey-sense and told me this was going to be worth checking out, and so it proved, for while the main idea of mother and child in possibly haunted new home is far from new, The Resident plows a different furrow from others in that field, offering up a genuinely creepy, psychological approach.

Joanna (Tianna Nori), her husband and her new baby have to move into temporary lodgings for his new job, and right from the start this is an apartment block that just screams out that there’s something wrong. It takes several attempts buzzing the intercom just to get into the block, then on schlepping up the stairs (just what you want with a baby stroller) to the apartment for rent they find no-one there, no sign of the landlord. But the door opens and there’s a not telling them to look around but if they don’t like it then pretty much leave and don’t let the door hit you on the butt on the way out. Not exactly a warm welcome. Oh, and there is a locked room in the apartment. Which hubby surmises must be where the landlord stores his personal items, but which you just know is going to be something else…

There’s a palpable sense of unease right from the start, just viewing the apartment, but once they move in the sense of disturbance grows. Much of the increasing sense that things just aren’t right comes from Joanna basically being at home by herself with the baby, day after day, in a strange city while her husband is out at his new job. She doesn’t know anyone here and, mysteriously, she never seems to bump into anyone from the neighbouring apartments coming or going. But she does hear them. Sometimes. A banging, banging, banging on the walls and other sounds.

And this is where The Resident takes a different tack from some haunted apartment tales – director Ainslie wisely uses the more mundane, everyday elements of Joanna’s life as a new mother in a strange city to both heighten her feelings of isolation and dislocation and yet at the same time also make you second guess her state of mind. Like many new mothers she’s already dealing with major life changes – the physical and emotional sides of pregnancy and giving birth, then finding yourself now mostly at home on your own during the work day, totally cut out of your previous routines. That is a difficult thing for most first-time mothers to adjust to, and here in a new city she doesn’t even have friends or relatives to come round, take them out, babysit or help out, increasing her isolation, and it doesn’t help that her husband is busy with his new job and his stress there means he is less than supportive even when he is at home…

And I found this was the element that really made The Resident work for me – that real-world side of things, of Joanna trying to cope with her new life and baby and new home is something that is very easy to empathise with, and grounds the spookier aspects. In fact, it not only grounds them it also offers the viewer a dilemma – how much of the increasingly strange things that seem to be happening are real? And how many are the products of a woman in a heightened emotional state? And that really helps drive The Resident into a much more psychological level as the viewer is left wondering what is real and what is not – and realising that even if it isn’t real, the effect is the same on poor Joanna. And what if it is real, what are those noises from neighbouring apartments where nobody every seems to be home, what’s in that locked room, what happened here before… With a lean running time The Resident builds atmosphere right from the start and increases the psychological pressure throughout, not outstaying its welcome, so keeping the tensions nice and taught.

The Resident is released on DVD, on-demand and download by Second Sight from May 22nd; this review was originally penned for the Forbidden Planet Blog

Shadow of the Vampire

Great, I have a few days off to enjoy and what happens? I develop a smegging cold! Nuts. British Summer Time rolls around, the clocks go forward and cue everyone suddenly getting colds and flu. Still, it beats being at work and worrying what Alex is going to do with his omnipresent digital camera (yes, the one that provided Matthew’s Blog with my less than flattering pic).

So last night as I was in no fit state to go out I decided to have a mini vampathon. I watched Shadow of the Vampire and Bram Stoker’s Dracula on DVD. Love the conceit of Shadow, with Murnau directing a real vampire, posing as a method actor called Shrek who is playing a vampire… Very well made, good use of light and shadow – most appropriate considering Nosferatu is one of the high point of the Expressionist movement. The Coppola, despite it’s noble proclamation to be a definitive version based properly the book really isn’t anything of the kind. Instead of a horror tale we have a Gothic romance, but it’s still a very enjoyable movie for us old vamp fiends and Winona looks delectable in that red dress – dontcha love the zoom facility on DVD? What a biteable neck she has – mind you, you’d have to watch your possessions around her.

Finished off with a couple of episodes on old-fashioned VHS of my beloved Forever Knight – anyone else remember that? Actually I’m just listening to the second volume of the soundtrack from the series right now, all composed by Fred Mollin with nice little cameos by the lead actors. Nigel Bennett’s LeCroix is especially fine – the only good human is a bled human. So wonderfully unrepentant was LeCroix – a vampire who really enjoyed being an immortal bloodsucker, not a whiner like some of these modern vamps. He’d have got on well with Cassidy from Preacher.